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Post by sophie92 on Aug 31, 2023 23:06:30 GMT
I finally saw this last night (Wednesday). I longed to see the Broadway production but it wasn’t possible (too young to take myself to New York mainly!) and it has been a very long wait to see it come to the UK, but what a worthwhile wait. This production exceeded my every expectation.
Caissie Levy sings the score effortlessly, with an acting performance to match. It’s maybe a more understated performance than some might have expected but I thought it worked. When she let go, she let go. Yes, Jamie Parker does struggle with some of Dan’s songs but his acting and the emotion he delivers more than make up for it. He is so believable and utterly heartbreaking as a man trying to hang on and hold everything and everyone together. Jack Wolfe was brilliant as Gabe - his stage presence and the aura he gave off were perfect. I could hardly take my eyes off Eleanor Worthington-Cox when she was on stage. She was living and feeling every single moment, even when she wasn’t the focus of the scene (You Don’t Know was an excellent example of this).
I wept through the majority of Act 2 and was sobbing through ‘Light’ - partly because of the material and partly because, after more than a decade, I had finally seen a production of Next to Normal.
An easy 5 stars from me.
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Post by bobbievanhusen on Sept 1, 2023 2:46:45 GMT
{Spoiler - click to view}
Natalie seems far more bipolar throughout this production that Diana does I agree, certainly at the start, at least. She is way more manic than Diana is and she's meant to be the one having an episode. |
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Post by steven22 on Sept 1, 2023 12:17:13 GMT
I’m finally going tomorrow evening and I can’t wait. Will report back.
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Post by alessia on Sept 1, 2023 13:03:08 GMT
Well, here I am in the minority yet again. The musical is inherently interesting and the production is fine with the three young performers really excellent but......I found Ms Levy one note. Yes, she can sing extremely well, but without an ounce of emotion (in my opinion). I also thought she never displayed any of the manic tendencies associated with this disease and hence always found her to be in control which is at odds with the piece. Jamie Parker was better than expected but could not really deliver his big act 2 song. I was drawn back to Alice Ripley from the OBC and maintain her interpretation cannot be bettered - so much emotion in a single line. Please don't shoot me down fellow theatre-lovers. This is my opinion which I feel entitled to share! And by the way, about five single empty stalls seats on Tuesday night. {Spoiler - click to view}
I too thought Cassie gave me nothing of well...anything and she is obviously being directed that way.
I don't know the show very well or if the emphasis is different in this production. But as bipolar is hereditary, I assumed that Natalie may have been covering that aspect of things in this particular production and that Diana was mostly working through depression with the odd 'bout' of bipolar, just to let the audience know she had it. Natalie seems far more bipolar throughout this production that Diana does.
This tended to make the whole thing even more depressing for me as Natalie's newfound relationship that we are all meant to be so chipper about, is probably going to mirror her parents relationship in the future. I thought their story actually felt like a glimpse into what Dan and Diana's early relationship was probably like pre Gabe.
There does seem to be some rather depressing foreshadowing to the fact that Henry and Natalie's relationship starts to bloom the moment Dan and Diana's relationship is over.
But as I don't the show or the writers intentions very well, I am not sure if this is the general consensus or not.
I agree (with Intoanewlife) - I saw this yesterday evening, I liked a lot of it, didn't love it but I rarely love a musical. I also interpreted Natalie's relationship as a future version of her parents. I shed a few tears particularly at the husband's predicament. I have no experience of this in my family or close friends so can just imagine what it must be like for a partner to go through this. I don't have any desire to see this again and didn't like the songs much. I enjoyed (for lack of a better word!) the acting and the story. |
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Post by mattnyc on Sept 1, 2023 14:29:02 GMT
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5,812 posts
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Post by mrbarnaby on Sept 1, 2023 16:24:39 GMT
Wow good for them! That review will certainly add to the west end/Broadway transfer heat..
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Post by theatre2023 on Sept 1, 2023 16:58:20 GMT
Review: ‘Next to Normal’ Is Back, With Extra Pathos Matt Wolf 5–6 minutes Critic’s Pick A London revival of the hit musical brings extra warmth to the story of a woman in psychological free fall. A performer singing atop a kitchen-sink unit, on a set with rooms behind and stairs up to an area containing musicians. “Next to Normal” runs at the Donmar Warehouse in London through Oct. 7.Credit...Marc Brenner A performer singing atop a kitchen-sink unit, on a set with rooms behind and stairs up to an area containing musicians. Matt Wolf The critic Matt Wolf saw a revival of “Next to Normal” in London. A mind in torment is making for some terrific theater at the moment in London, where the Pulitzer Prize-winning musical “Next to Normal” is belatedly having its British debut 14 years after it opened to acclaim on Broadway. The local premiere at the intimate but important Donmar Warehouse runs through Oct. 7, and this engagement looks unlikely to be its last. In between its Broadway run and now, the show has been seen in an immersive production in Barcelona and its composer, Tom Kitt, has written a handful of other Broadway musicals. But as staged afresh in London under the astute eye of the director Michael Longhurst, “Next to Normal,” a portrait of a woman in psychic turmoil, has a renewed sting. Longhurst is soon to depart his post as artistic director of the Donmar (Timothy Sheader takes over the job next year) so is easing his way out on a high. In casting “Next to Normal,” he has plucked a supporting performer, Caissie Levy, from his lauded 2021 Broadway revival of “Caroline, or Change” to inherit from the Tony winner Alice Ripley the demanding lead role of Diana Goodman, a bipolar wife and mother whom we witness in accelerating degrees of distress. The result is transformative: Whereas the show I recall in New York (with a different cast) was commanding but chilly, this version owes its extra pathos to Levy’s innate warmth: You feel for Diana at every step, even as you fear where her wayward emotions may lead her next. A Broadway alumna of “Hair” and “Frozen,” Levy from the start pulls you into her character’s increasing confusion. We see at the outset the difficulty Diana faces in simply making sandwiches, the bread laid out before her as if as if this routine domestic task were an unusual challenge. From there, the musical darkens to embrace shock therapy, attempted suicide and multiple hallucinations, the specifics of which are best left unrevealed. Some may chafe at the cumulative effect of a through-sung musical that lets neither its characters nor its audience off the hook; we witness Diana’s reluctant surrender to electroconvulsive therapy, followed by memory loss that further amplifies her trauma. Some may flinch at the unyielding nature of the despair that unfolds, but those attuned to its candor may emerge from the show with clarity: It’s no surprise that the final song is entitled “Light.” This musical opts not for fake sentimental uplift, but for the courage that comes from facing down mental illness, acknowledging human frailty and somehow finding a way to carry on. Several references move the world of the show on from a decade ago. Mentions of X, formerly known as Twitter, and climate change suggest the present day, and Chloe Lamford’s sliding, bleakly antiseptic set — representing both home and hospital — exists in colorless contrast to the blood that gets spilled upon it. (The London-based American performer Trevor Dion Nicholas ably doubles as the two doctors struggling to diagnose Diana’s condition.) Levy steers the production, her voice softening on the plaintive solo “I Miss the Mountains” before acquiring the necessary steeliness for “You Don’t Know,” Diana’s furious duet with her husband, Dan. In that role, Jamie Parker, a onetime Harry Potter on the London and Broadway stage, communicates the anguish that comes from watching a loved one slip away: The sight of him, late on, curled up in despair in the family kitchen, is among the show’s most rending. As the couple’s musician daughter, Natalie, Eleanor Worthington-Cox brings some serious pipes to the part of a teenager determined not to follow in her mother’s fraught emotional path. Jack Ofrecio is properly sympathetic as her boyfriend, a good-natured stoner who attempts to keep Natalie from her own psychological free fall. And the production boasts a genuine breakout star in the fresh-faced Jack Wolfe, who seizes the role of the antic son, Gabe, and brings a darting sense of danger whenever he appears on the two-tiered stage. (The music director Nick Barstow’s expert band is positioned above the action, obscured now and again by screens that suggest a clouded mind.) In superb voice, Wolfe has an electrifying talent that more than matches Levy’s own, and when he rocks out on the character’s solo number “I’m Alive” — Gabe’s searing anthem of self-assertion — it feels as if there’s no more vital theatrical place to be. |
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Post by Deleted on Sept 1, 2023 22:11:51 GMT
Eleanor WC certainly seems a name destined for great things. Won an Olivier at 10/11 years old, BAFTA nominated at 15 and now getting great reviews in adult rules. Has the voice, acting talent and model like looks I bet she can dance too.
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Post by toomasj on Sept 2, 2023 8:48:50 GMT
Finally seeing this tonight, so excited. Cabaret matinee first, really hope the trains behave…
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Post by dr on Sept 2, 2023 17:40:27 GMT
Saw this today, and was not as content as many on here. There are some great elements of the production here - the younger cast members are excellent, giving strong performances (Eleanor Worthington-Cox is a standout, and I'd like to see her in a strong lead role soon) Caissie Levy is a convincing, charming Diana, and Jamie Parker makes Dan a focal point of the production, with a stoic "straight-man" performance. Chloe Lamford's set design is predictably wonderful, alongside the video design, and there are some really inspired touches by Michael Longhurst. The use of the space, characterisation of {Spoiler - click to view}
Gabe , handling of the end of the first act, the superb casting... all very solid aspects. My problem, I think, was with the material. I know this may well be controversial, but I felt that lots of the music was unmemorable and stagnant, with the lyricism often lacking nuance and depth. The subplot between Natalie and Henry is almost comically handled, with Natalie's decline in the second act feeling far too sudden. It isn't that these events are unrealistic or implausible - it's that the book handles them clumsily, leaving us to sketch in too many details. Where there is meant to be comedy, there are no laughs, because the humour feels like something from a sanitised sitcom. Where there is tragedy, I found it difficult to be invested, never knowing when the next screaming rock song is coming. There are spots of brilliance - "I'm Alive," some of Natalie's quips, {Spoiler - click to view}
some of the writing before Diana's suicide attempt - but with a weaker cast and creative team, I'd have found this unbearable. The playtext has multiple deleted songs, and I felt this a lot. To me, this felt like a musical with missing patches, missing purpose, missing structure. That is, I understand, what some people appreciate about it. But to me it undermined its contributions to the mental health discourse, and, most pivotally, muted my emotional response. I think I'd agree with the critics on this one, giving it three stars. I'm clearly in a minority, and hope it transfers for the sheer quality of the performances and production. But with many women-centred plays such as Alice Birch's "Anatomy of a Suicide" and Lucy Prebble's "The Effect" handling themes of mental health and suicide much more elegantly, I won't be recommending this anytime soon. |
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Post by theatre2023 on Sept 2, 2023 19:02:16 GMT
Mark Shenton raves: "Partly because it speaks to me so personally, I believe that Next to Normal is already the greatest musical of the 21st century so far. It’s a show that devastates me; and surveying the weeping members of the audience I’m surrounded by, I know I’m not alone." playsinternational.org.uk/next-to-normal-at-donmar-warehouse/ |
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Post by steven22 on Sept 2, 2023 21:14:12 GMT
I finally saw it tonight and I’m in awe. After seeing the original Broadway production many many times, I thought I’d be stuck on that staging, direction, acting choices, etc. But this cast and everything about the production were perfection. Period. I hope there’s more to come with this production.
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Post by andrew on Sept 2, 2023 23:09:16 GMT
I thought it was pretty much perfect. The issue I had with the source material (which I wrote about several pages ago) regarding the message of the show has been directed away by Longhurst. I have no notes. I even liked Jamie Parker’s singing voice, which you guys had me worried about. He fluffed a line but covered it well, and he gave Dan so much depth, my heart broke more than once in act 2 watching him. I mean really there’s so much star quality on stage, the whole thing is so perfectly constructed. I enjoyed hearing a different voice to Alice Ripley in what’s clearly a different take on Diana, especially in the first act I thought Levy was giving the performance of a lifetime.
So yeah, five stars, I’m only seeing this run once and might choose to avoid seeing it in a bigger house to not lose the beautiful memory of intimacy this show gave me tonight.
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Post by Jon on Sept 2, 2023 23:09:32 GMT
In terms of a theatre for a future transfer, I wonder if @sohoplace might work as it's a flexible venue so could keep the staging from the Donmar with ease.
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Post by toomasj on Sept 3, 2023 9:56:48 GMT
Easiest 5* will ever give. Masterpiece. As good as Broadway taken as a whole? Not sure yet. Need few days to digest before writing a proper review.
One thing is certain though, it’s Caissie Levy’s Olivier, might as well hand it to her now and save her the trip back. One of the great all-time performances and the best Diana seen. Masterful at her craft. “I Miss the Mountains” was astonishing, breathtaking.
Full thoughts to come in the next few days but it’s going to be a rave review.
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Post by bobbievanhusen on Sept 3, 2023 20:15:54 GMT
Apparently, As a member of the Donmar, I can join a waiting list for any performance and then if tickets are returned they will contact me to let me know and see if i want them. Depending on the waiting list length.
obviously i cant put my name down for every performance, but if there is anyone who hasnt seen it and is interested in a specific date, send me a msg. might as well use it if i can.
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Post by intoanewlife on Sept 3, 2023 20:21:37 GMT
Apparently, As a member of the Donmar, I can join a waiting list for any performance and then if tickets are returned they will contact me to let me know and see if i want them. Depending on the waiting list length. obviously i cant put my name down for every performance, but if there is anyone who hasnt seen it and is interested in a specific date, send me a msg. might as well use it if i can. That is very, VERY nice of you x |
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Post by Mr Wallacio on Sept 4, 2023 18:14:32 GMT
So I was thinking today that I hadn't received a follow up from the Donmar regarding the cancelled Saturday matinee on the 26th other than the email that "I'd be contacted".
Have a look at credits on my account and see I've had the cost of the tickets added as credit there and this happened on the 28th.
No email to let me know, no asking if I wanted the cash back instead (which I do because it's extremely unlikely I'll be seeing anything else at the Donmar within the next 12 months.
Disappointed with this lack of communication or asking. Had I not gone searching I'd have never seen the credit.
I know the website says "in the event of cancellation we'll credit your account or offer a full refund", but in order to offer it would be useful if they actually, you know, offered!
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Post by stageyninja83 on Sept 4, 2023 18:16:04 GMT
So I was thinking today that I hadn't received a follow up from the Donmar regarding the cancelled Saturday matinee on the 26th other than the email that "I'd be contacted". Have a look at credits on my account and see I've had the cost of the tickets added as credit there and this happened on the 28th. No email to let me know, no asking if I wanted the cash back instead (which I do because it's extremely unlikely I'll be seeing anything else at the Donmar within the next 12 months. Disappointed with this lack of communication or asking. Had I not gone searching I'd have never seen the credit. I know the website says "in the event of cancellation we'll credit your account or offer a full refund", but in order to offer it would be useful if they actually, you know, offered! Same happened to me, just appeared as credit. Disappointing. |
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Post by filendile on Sept 4, 2023 18:19:49 GMT
There are some naughty audio clips on youtube. Jack Wolfe sounds incredible.
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Post by curiouskc on Sept 4, 2023 18:41:58 GMT
There are some naughty audio clips on youtube. Jack Wolfe sounds incredible. He is amazing live. This angel-faced young man with a rock star voice. |
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Post by sleeper on Sept 4, 2023 19:52:25 GMT
Anyone who got a credit note instead of a cash refund for the cancelled performance should definitely contact the Donmar to ask for their money back instead. Donmar credit notes expire after 12 months, so unless you have immediate plans to make a new ticket purchase, you risk losing your money.
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Post by steven22 on Sept 4, 2023 19:53:15 GMT
There are some naughty audio clips on youtube. Jack Wolfe sounds incredible. He is amazing live. This angel-faced young man with a rock star voice. The entire cast is extraordinary. Jack Wolfe and Caissie Levy are the two standouts if I have to pick, though. I’m here for a second time tonight and in awe during the interval. PS I’m standing room tonight, it’s not great. But for 10 pounds I can’t complain. I’m glad I was able to see it from the front of the stalls two nights ago. |
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Post by lolasangel on Sept 6, 2023 3:38:21 GMT
So I was thinking today that I hadn't received a follow up from the Donmar regarding the cancelled Saturday matinee on the 26th other than the email that "I'd be contacted". Have a look at credits on my account and see I've had the cost of the tickets added as credit there and this happened on the 28th. No email to let me know, no asking if I wanted the cash back instead (which I do because it's extremely unlikely I'll be seeing anything else at the Donmar within the next 12 months. Disappointed with this lack of communication or asking. Had I not gone searching I'd have never seen the credit. I know the website says "in the event of cancellation we'll credit your account or offer a full refund", but in order to offer it would be useful if they actually, you know, offered! Same here, very disappointed with the lack of communication. I went to Box Office and requested my refund earlier this week while I was passing. Turns out they left off the £1.50 booking fee for an event that didnt take place. However this show is incredible. Stellar cast and love the music a lot! Hopefully we get a cast recording! |
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Post by max on Sept 6, 2023 11:42:20 GMT
I thought Jamie Parker's performance was terrific. He seemed the one really acting through song. I know we sometimes debate 'acting through singing the notes written' (like it’s speech already) versus 'speak singing' where you throw away some of the notes to make it sound casually real. I definitely prefer the former, but the writing has to enable that. Parker fully sings it, but finds animation and variation that brought dimensions I didn’t get elsewhere. The writing of his character allows it more than others - straight laced dad characterisation, instead of emoting, pneumatic, titanium voiced wife and kids. Other characters are often written to hit their pop/rock riff very early into songs without much build up or dramatic development, and then the song's quite narrowly locked, only varied by going to 'that' Broadway-Rock harmony. 'I’m Alive' works best because getting locked into its groove & chorus IS the characterisation - mockingly insistent, petulant, never going away. It doesn’t work so well in bringing other characters to life with the subtly I was hoping for, for the subject matter. ‘I Miss The Mountains’ is a clever song, but comes a bit too early I think. I want to see Diana experience her emotions being evened out and dulled for a bit longer, before describing missing the peaks and troughs of life. Later, if only we could see her ‘people pleasing’ that a procedure has worked, to make her family feel good, the drama would be fully developed ready for the song…. {Spoiler - click to view}
…as she’d trip up and reveal that she doesn't actually recognise or remember her daughter at all, she was just pretending to. It would be so moving to see her try, and as an audience (briefly) believe the ECT procedure has worked. Instead we get a very skimpy: 'welcome home', 'who are you?', ‘That’s your daughter!’ cue immediate 'Song about how treatment has destroyed my memory'.
Good to show the band as this had the feel of a staged concept album - which is fine, there are all kinds of musicals and that’s a form I like a lot. I just think that “Tommy” did an exploration of mental health and the search for a ‘cure’ with more musical variety. Despite coming from an actual legendary rock band I think it has more theatre-writing skill in characterisation and capturing the musicality of human speech in song. From ‘Tommy’ “Go To The Mirror” (Norm Lewis, Alice Ripley, Marcia Mitzman on Broadway Cast album findable on YouTube) has so much variety within it and does more for me dramatically and emotionally than ‘Next To Normal’ did. |
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